![]() MLV files to standard CinemaDNG sequences, we can get started color correcting or editing. Most computers aren't fast enough to edit CinemaDNG sequences in real-time, so we'll be using an an " online\offline" workflow. Awesome! Now that you have successfully converted your proprietary. ![]() If you are on Mac OS X, I recommend RawMagic Lite \ RawMagic, which will do the same conversion to CinemaDNG. If you are ready to "wash your hands of it" and be done about now, I suggest you take a look at Pomfort Cliphouse for a quick way to finish your RAW files without going into additional applications, but it is another software package you would need to purchase.Ĥ. ![]() If you are on Windows, I recommend you use Raw2CDNG, which happens to be free and open source. Once back at your main editing computer, it's time to decode the proprietary RAW \ MLV files to standard CinemaDNG images sequences. This will also confirm if any files are corrupt or damaged, as the on-camera raw playback is still finicky.ģ. This software is great, as we can use it to review shots on a laptop on-set if needed for focus. Review files on-set with MLRawViewer (Latest Version as of writing is 1.3.3). I suggest you establish a "cycle" of checking, dumping, and formatting the CompactFlash cards if you do not have a DIT, to avoid any data "accidents".Ģ. MLV Files from your CompactFlash card to two hard disks while on-set, one for back-up purposes. It's fairly straightforward, with many steps the same as before.ġ. Here is that CinemaDNG workflow, and it happens to work for both Mac and PC, although you use a different program for the initial conversion. As this was a creative passion project, I wanted every bit of visual information I could capture. The " Quick & Easy" workflow worked flawlessly, but I knew I was throwing out a lot of control in color correction by simply converting to ProRes. After going on a trip to Alaska and shooting a short nature film, I designed a higher end "feature" workflow using CinemaDNG as the "online" format instead of ProRes444 to retain the most information captured by the camera. I had done plenty of testing in preparation while testing the previous workflow, so it wasn't new of territory this time around. This article is written from the perspective of working with the least stable model, and I've had only a few issues. Some models (5D Mark II, III) are far more stable than others (7D, 6D). While the camera could have the occasional "crash", no need to panic, as cycling the camera on\off or pulling the battery will almost always fix it. ![]() Bring a least 3 1000x (or faster) CF cards and\or have an organized and efficient cycle of downloading the CF cards to avoid too much downtime.Ĥ. It may be a limitation and CAN kill time, but not if you plan around it. Think of it like you are shooting film, and you have to plan more carefully. Each 64GB card will only hold between 11-22 min of footage, so you will be switching cards quite a bit. Its not very glorious, but if you need to reshoot something, it is FAR easier knowing that fact a few minutes later instead of while watching dailies.ģ. You SHOULD have a DIT on set who does nothing but offload cards and check the MLV files, if the production has the budget or you can wrangle someone to handle this very important task. Make sure you have a few HDDs to offload and back-up footage.Ģ. Each hour will eat up around ~350-400GBs, depending on the exact resolution & if sound is recorded. You will need a massive amount of hard drive storage on set. Here are a few things you can expect when shooting Magic Lantern RAW, not matter your post workflow:ġ. This follow up article aims to refine that workflow for more control over your color correction, at the expensive of processing time and storage space. My purpose for that experiment was both to see if I could figure out a "simple & reliable" workflow to use for ML RAW (mlv file format) and to see if it would hold up during post production processing. In a previous article, I detailed how you can work with Magic Lantern RAW quickly and easily, decoding almost directly to the high quality edit-friendly Apple ProRes format.
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